Petunia, Walberswick - Charles Rennie Mackintosh
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Beskrivning
A 1914 botanical study by Charles Rennie Mackintosh, featuring delicate line work and watercolour washes of petunias observed in Walberswick.
During his time in the Suffolk village of Walberswick, Charles Rennie Mackintosh produced a series of botanical studies that demonstrate his shift away from the architectural rigour of his earlier Glasgow period. This work, dated 1914, captures the delicate structure of petunias through a combination of precise pencil outlines and controlled watercolour washes.
Mackintosh employs a graphic approach to the subject, where the ink or pencil lines define the form, while the colour is applied with a degree of restraint. The composition is balanced, focusing on the interplay between the deep purple of the primary bloom and the softer, paler tones of the adjacent flowers. The artist includes his characteristic signature block in the upper right, which provides a structural anchor to the otherwise organic arrangement of the petals and foliage.
Unlike traditional botanical illustrations that aim for scientific documentation, this piece reflects the artist's interest in the decorative potential of natural forms. The leaves and stems are rendered with a calligraphic quality, showing the influence of his design background. The background remains largely untouched, allowing the focus to remain entirely on the floral subject. This work is representative of the period when Mackintosh focused on painting as his primary creative outlet, often finding inspiration in the local flora of the English coast. The clarity of the line work and the deliberate use of colour demonstrate his ability to translate complex natural shapes into a simplified, modern aesthetic. This print preserves the subtle textures of the original paper and the specific pigment choices that define his later artistic output.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Petunia, Walberswick - Charles Rennie Mackintosh
Artist Biography
Charles Rennie Mackintosh
He was the fourth of eleven children, seven of whom survived infancy. His father was a police superintendent. The boy was probably dyslexic, struggled badly at school, and used sketchbooks to manage what appear to have been emotional difficulties. He had a contracted sinew in one foot that gave him a limp, and childhood rheumatic fever left one side of his face permanently drooped. None of this stopped him drawing.
He enrolled at Glasgow School of Art at fifteen, studying part-time while apprenticed to the architect John Hutchinson. In 1889 he joined Honeyman and Keppie, where he would remain for nearly two decades. He met Margaret Macdonald in 1892. Together with her sister Frances and Herbert McNair, they formed a group that became known as The Four. Mackintosh and Margaret married in 1900. He acknowledged publicly that Margaret had genius where he had only talent.
His greatest commission was the Glasgow School of Art building itself, won in competition in 1897. The library wing, completed in 1909, is considered one of the finest interiors of the twentieth century. He designed all four tea rooms for the entrepreneur Catherine Cranston, going so far as to specify the waitresses' dresses and order the flowers. In Vienna, at the eighth Secessionist Exhibition in 1900, his work was received with an enthusiasm Glasgow never matched.
His style fell from favour. He drank. He was asked to leave his firm. In 1914 he and Margaret moved to Walberswick in Suffolk, where he was briefly arrested as a suspected German spy because of his Vienna correspondence and unusual manner. He was released without charge but effectively driven from the village.
In 1923, they moved to Port Vendres in the south of France. The light and landscape revived him. He painted watercolours of the surrounding hills and harbour with an obsessive attention to geological detail, completing around forty before returning to London for the last time.
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